DRIVEN TO ABSTRACTION | Group Show

Driven to Abstraction
 Featuring work by

Andrea Belag

Lisa Corinne Davis

Amy Ellingson

Catherine Howe

Rebecca Smith

Dannielle Tegeder

Canan Tolon

Carrie Yamaoka

June 9 – July 23, 2011

Opening reception: Thursday, June 9, 6 – 8 PM

Von Lintel Gallery is pleased to present Driven to Abstraction, a group show of eight contemporary abstract artists who represent a diverse range of entry points into abstraction.

Dannielle Tegeder's angular constructions push geometric-based abstraction in new directions, while Amy Ellingson and Lisa Corinne Davis' elaborate layering and accumulated details marry geometry with organic structures. In Canan Tolon's fragmented paintings spaces are recognizable yet elude description. Catherine Howe's abstract-leaning paintings emerge spontaneously from gestures and imagined forms as Andrea Belag also focuses on gesture, creating compositions of lush brushstrokes and washes of color. Carrie Yamaoka extends and inverts a situationist minimalism while Rebecca Smith's painting-sculpture hybrids manipulate and transform the grid.

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Andrea Belag
Shift, 2011
oil on linen
22 x 30 inches

Lisa Corinne Davis
Fabricated Phantasm, 2010
oil on wood panel
48 x 45 inches

Amy Ellingson
Variation (yellow, with emblem), 2011
oil and encaustic on panel
40 x 40 inches

Catherine Howe

Night Painting (phoenix), 2011 

oil and beeswax on linen 40 x 40 in 

Rebecca Smith
Hanging Dress, 2010
painted steel
83 x 68 x 13 inches

Rebecca Smith
Hanging Dress, 2010 (detail)

Dannielle Tegeder
Transmission System with Chroma Construction, 2011 

collaged acrylic paint and ink on panel 24 x 18 in

 Canan Tolon
Untitled, 2011
oil on canvas
20 x 16 inches

Carrie Yamaoka
30 by 13, 2010
mylar, urethane resin and mixed media on wood panel
30 x 13 inches

JOHN CHIARA | Group Exhibition: Views of San Francisco 2011

John Chiara
24th at Carolina (Left), 2006

"Crown Point Press is pleased to announce a new color etching by Robert Bechtle. His latest print is featured in the gallery along with a group exhibition titled Views of San Francisco that highlights Bay Area-inspired prints by artists who have worked in the Crown Point studio over the years.

 

Robert Bechtle has lived in Northern California his entire life, and he continues to find inspiration in its suburban streets. In his latest print, Three Houses on Pennsylvania Avenue, 2011, rows of terra cotta rooftops are bathed in cheerful sunlight emanating from a clear blue sky. The large soft ground etching is inked in a pastel palette and layers of diffused light and shadows stretch across driveways, streets, and parked cars. In this meticulous depiction of his Potrero Hill neighborhood, Bechtle continues to reveal beauty in ordinary details of the everyday.

 

Among the prints included in the group exhibition is Joyce Kozloff's San Francisco Victorian, 1981. Kozloff was part of the Pattern and Decoration movement, and she made prints that related to her ceramic work of that time. She embossed shapes onto the paper and created colorful and delightfully ornate images of fruits, flowers, and ornamental details characteristic of Bay area architecture.

 

San Francisco photographer John Chiara uses a large hand-built camera to produce his one-of-a-kind works. For his project with Crown Point Press he created a series of three color photogravures of a panoramic view from a San Francisco hilltop. The rich, velvety black silhouette of trees and overgrown grass are prominently focused while orderly buildings fade into the background. Chiara's photogravures capture the quiet, transient moments of contemplation within an urban environment. The Views of San Francisco group exhibition also includes prints by Iain Baxter, Richard Diebenkorn, Al Held, Tom Marioni, Ed Ruscha and Wayne Thiebaud."

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Antonio Murado | 'Salome' Coffee Set @ The New Museum

Salome Coffee Set by Antonio Murado

 

 

"The forward thinking “New Museum” in New York has a long history of curating its gift shop as creatively as it does its collection of contemporary art. While browsing its online shop I stumbled upon its “Art Objects and Editions” section. In collaboration with well-known contemporary artists the museum puts out works in limited edition runs that, for a pretty penny, you can purchase for your home."

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"I find this kick arse blood set so brilliant, it set me off with a Shakespearean poetry vibe.

This is an awesome Antonio Murado Salome coffee set made in Spain, exclusively for the New Museum. It is so brilliantly messed up, I am desperate to eat my Christmas dinner off of it, but it costs $1,500.

If you want to get all arty about this, then…

“The crimson handprints and smears are an almost Baroque reflection on the act of consuming a meal,” according to ILoveBadThings."

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ALLYSON STRAFELLA | Art in America Review

Allyson Strafella: downshift, 2010, typed colons on red carbon paper, 10 3⁄4 by 7 7/8 inches

Allyson Strafella

5/13/11

By Janet Koplos

New York

"From across the room, Allyson Strafella’s drawings look like simple abstract color blocks, somewhere between Milton Avery and Ellsworth Kelly. But what her drawings are really about is paper and repeated actions. Using a typewriter and carbon paper she creates not concrete poetry nor structural shapes as Carl Andre does in his typed works nor whimsically obsessive arrangements like Elizabeth Zawada’s. Instead the 14 works (most 2010) address the beauty of mark-making reduced to its nonnarrative essence. At the same time, these fragile pieces of paper, abused by the intensity of her repetitions and, when just pinned to the wall, tattered by fluttering in the draft from the door, suggest the vaporous quality of human efforts to communicate: a mark or a sound is so small and so brief in the vastness of existence.

Strafella uses a customized typewriter with an expanded carriage that allows these works to range in width from 5 to 28 inches. She chooses red, green and especially cerulean blue carbon paper in addition to black, so the show is not monochrome, although all but one of the works employ only a single color on a contrasting ground.

Usually she applies one typewriter key—often a colon—repeatedly to form an oval or fan shape. She continues typing until the carbon paper or the receiving paper begins to dissolve. In the gallery, she may show either part, or both. Outgrowth is a sheet of carbon paper 13 by 8 1/2 inches, the colon-perforated edge curling under. On another wall, one of the few framed works in the show was path: right, in which a satiny blue paper, 16 1/4 by 10 3/4 inches, bears the black residue of outgrowth. Another drawing, downshift, is a sheet of red transfer paper with a curving wedge of colon-induced perforations that makes the whole recall some ancient, moth-eaten, cochineal-dyed textile.

The fine repetitions of the various marks more than once resemble textile weaves. The parallel lines of typing still faintly visible despite her layers of transferred carbon might make you think of the twill weave of jeans or the rounder minuscule pattern of knit nylon stockings. It’s an older sort of pixelation, encouraging an intimacy that is as rewarding as the more distant views, which suggest simple graceful compositions."

View review @ Art in America

Von Lintel TIM MAGUIRE artdaily: Gallery Present Its Fourth Exhibition of New Paintings by Tim Maguire

Tim Maguire       
Untitled (20110301), 2011
oil on canvas, 59 x 47 in (150 x 120 cm)

NEW YORK, NY. - "Von Lintel Gallery present its fourth exhibition of new paintings by Australian artist Tim Maguire, on view from May 5 through June 4, 2011. Tim Maguire's large canvases are full of lush plant life—tightly cropped angles of multi-colored poppies in various stages of bloom and decay. Maguire's floral scenes are striking, yet for the artist the work is less about subject than the duality of process for which he is known.

Melding mechanical printmaking techniques with traditional painting, the artist flips normal order on its head. Working from his own photographs of nature, Maguire builds up layers of value and tone by applying only three successive colors of paint to the canvas: cyan, magenta and yellow—successfully mimicking the buildup of color used in the CMYK mode of digital printmaking.

From a distance, Maguire's bold imagery and riotous color coupled with the paintings' smooth surfaces makes them look almost like mechanical reproductions. It is only upon closer inspection that we notice the artist's hand, surfaces interrupted by brushstrokes and sprays of solvent. The elements of Maguire's compositions break down and become abstract, more about shape and color than something figurative.

Tim Maguire has exhibited extensively in Europe and Australia for more than two decades, including a recent one-person exhibition at Birmingham's Ikon Gallery, UK. His work is held by virtually every Australian museum and is included in major public and private collections throughout Europe. The artist lives and works in France and the United Kingdom"

artdaily

TIM MAGUIRE | Group Show @ The University of Queensland Art Museum

Art exhibition offers a psychedelic experience

"Visitors are invited to take a trip through hallucinogenic patterns, optical illusions and cosmic landscapes when the latest exhibition at The University of Queensland opens this weekend.

New Psychedelia takes over the entire ground floor of the UQ Art Museum from Saturday, May 7 with pieces by 43 contemporary Australian artists, including one that requires 3D glasses.

"A new psychedelia has undoubtedly emerged in the past decade as an off-spring of the rave party, but also out of the décor of virtual reality and what William Gibson dubbed the 'consensual hallucination' of cyberspace,” Dr Edward Colless writes in the exhibition catalogue.

Curator Sebastian Moody said it was debatable whether recent explorations of psychedelia are in fact a countermovement to the "Turn On, Tune In, Drop Out" mentality of the 1960s.

"The contemporary interest in psychedelia is not driven by a drug culture

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as in was in the 1960s, though the term ‘psychedelic' arose from trials of LSD, mescaline and other hallucinogens for therapeutic purposes," Mr Moody said.

"However, conjuring the spirit of the 'psychedelic' experience remains critical to the aesthetic, and the idea of expanding consciousness – finding a bridge between inner and outer worlds – is central to all of the artworks in the exhibition."

Among the featured works are a pulsing abstract painting by Dale Frank, Sandra Selig's fluoro spider webs, and a painting by Indigenous artist Roy McIvor. Geoff Kleem's The Good Forest even comes with 3D glasses to provide a unique viewing experience.

Mr Moody said in addition to being visually striking, the works offered intriguing explorations of society's increasing reliance on technology, and the growing interest in neo-shamanism and other forms of mysticism.

"If our consumer society seeks to understand and control the unconscious through market research, opinion polling and other Big Brother tactics, then psychedelia is its opposite – a weapon to blast the inner policeman out of our heads," he said.

New acquisitions to The University of Queensland art collection on display for the first time in New Psychedelia include work by Nathan Gray, Irene Hanenbergh, Brendan Huntley, Madeleine Kelly, Tim Maguire, Laith McGregor, Roy McIvor, Kate Shaw, and Jemima Wyman, while existing collection works by Dale Frank and Sandra Selig will be seen in a new light."

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